Every painting is a place. Some are specific places. Some are very nonspecific.
When creating a painting – a place – I often work from reference photos. Beginning with an organized structure that I can then disregard at will. I gravitate to architectural grids and repetition of shapes and will seek these out in city streets and natural environments alike.
My landscapes, cities, and abstracts are all built with flat planes of color. Layered and scattered on the canvas surface, giving enough information to tell the story but becoming looser at the edges. At times a canvas pulls more detail and information as I layer more and more palette knife strokes and thinned washes, becoming fully representational. Other canvases remain more mysterious and veer fully into abstract territory. I perch on the edge between the two.
I desire an immediate feeling to my work, energetic and unfocused and yet clear. An image that has only just assembled itself as your eyes fall upon it. Catching a glimpse from a moving car. Capturing a moment that will never be just the same again (if it ever was). Pinning down a fleeting moment, place, or memory.
Working in acrylic paint best allows this transference of energy and life and buzz to the canvas. I can work rapidly, build up layers, and maintain spontaneity. Sections of raw primed canvas peek through – flickering, sparkling, urgent.
I can be emailed at sullivash@gmail.com
I am represented by The Bonfoey Gallery , Leopold’s Furniture , and Today’s Home Interiors
A few paintings are made as reproductions each year with John-Richard , as well as small scale reproductions on paper available at this link
ASHLEY SULLIVAN ORIGINAL ON CANVAS PRICE LIST 2025
| SQUARE INCHES | DIMENSIONS | ABSTRACT/ LANDSCAPE | CITYSCAPE/ HIGHER DETAIL |
| 320 | 16 X 20 | 1200 | 1500 |
| 400 | 20 X 20 | 1300 | 1600 |
| 480 | 20 X 24 | 1350 | 1650 |
| 576 | 24 X 24 | 1400 | 1700 |
| 600 | 20 X 30 | 1500 | 1800 |
| 616 | 22 X 28 | 1550 | 1850 |
| 720 | 24 X 30 | 1700 | 2000 |
| 864 | 24 X 36 | 1800 | 2200 |
| 900 | 30 X 30 | 1800 | 2300 |
| 1152 | 24 X 48 | 1900 | 2400 |
| 1200 | 30 X 40 | 2000 | 2500 |
| 1296 | 36 X 36 | 2100 | 2600 |
| 1440 | 30 X 48 | 2200 | 2700 |
| 1600 | 40 X 40 | 2300 | 2800 |
| 1728 | 36 X 48 | 2500 | 3000 |
| 2000 | 40 X 50 | 2600 | 3200 |
| 2160 | 36 X 60 | 2700 | 3300 |
| 2304 | 48 X 48 | 2800 | 3500 |
| 2400 | 40 X 60 | 3000 | 3600 |
| 2592 | 36 X 72 | 3200 | 3800 |
| 2880 | 48 X 60 | 3300 | 4000 |
| 3456 | 48 X 72 | 3800 | 4500 |
| 3600 | 60 X 60 | 4000 | 4800 |
| 4320 | 60 X 72 | 6000 | 7000 |
What a fun and exhaustive list. Of course, it is not entirely exhaustive. Specialty sized commissions (outside of standard canvas sizes listed above) can be built to order. To estimate the price for custom built sizes: add the price for the square inches of the finished painting with an additional $800-2000 charge depending upon size. For example, a 46×62 cityscape would be 2852 square inches, so $4000 plus $1200 for a total of $5200. Custom stretcher lengths are as follows: 96, 90, 84, 80, 78, 72, and then descending in 2 inch increments. Pieces requiring more than 96” in length can be made using multiple panels.
My process for commissions aims to keep the process stress free for both parties. I will only take on a painting request if it fits within my body of work. The client and myself discuss size, subject, color palette, and reference other paintings from my portfolio. I then complete a painting, and the client gets first dibs. The client may opt to pass and the piece would then be sellable to a new buyer.
ASHLEY SULLIVAN 